Hollywood Art: System of sunnys

People were gradually arriving, and the meeting began to take shape. An intense conversation was visible at Billy's table. One thing led to another, and he ended up engaging in a discussion about how he started drawing, how he developed the fighting styles in comics, and the various techniques shared by the other artists at the table, some of which were new to him.

-Still, I'm impressed, kid. You make it seem like the fight is taking place right on the pages of your book. The transition from one attack to another, with the various ways you draw your characters, gives me a sense of euphoria that made me create two new volumes of Daredevil along with Stan Lee and Bill Everett, - Joe Kubert said, with Stan Lee's acceptance.

-They're set to be published next year. We want to create a long series connected with other ongoing stories, - Stan Lee added.

The motivation to create more comics had opened the floodgates. They were a competitive bunch eager to bring the best stories to light, leaving nothing behind.

-Now, I worry less about dialogues and even press Frank to work on those captivating battle poses, - Stan Lee said, adjusting his glasses. - Oh yes, we heard you on the radio. You sounded a bit older, but it was an excellent meeting that made me look forward to this day with more enthusiasm. -

-Thank you, sir, - Billy said, blushing. The constant compliments from people he considered great artists had thrown him off a bit.

-Come on, son, drop the formalities, - Stan Lee said.

-I'll try, - Billy sighed.

At that moment, Mike Richardson entered with Mike Mignola. They were both engaged in a hushed conversation about something important.

-Here comes Mr. Richardson, - Mike Wieringo said.

-Glad to see you, Mike, Joe, and Steve, - Mike greeted them warmly.

-Billy, what a pleasure to see you. For a moment, I thought you wouldn't make it. I've recently been reading your new series, Evangelion, and it's a true work of art, - Mike Mignola said, giving Billy a tight hug.

-An absolute pleasure for me, Mike. I've seen the new Hellboy series, 'Secrets of Dark New York,' and it's fantastic too, - Billy said.

-I'm still working on it; my designs have to adjust. You've given me a tough job to follow your gothic and realistic style, - Mike Mignola said, looking pleased. There was no doubt that Billy's artwork had posed challenges due to the hyper-realistic and dark artistic approach he had taken throughout the story.

-I mentioned that to Mike too; sometimes I feel like the comic is talking to me. The movement spaces are fantastic, - Steve Gerber added.

-Steve, it's great to see you again, - Mike said.

-How's the work going? Do you have any issues? You can still come and work with me a bit; the Rocket Raccoon series can be extended for a few extra chapters. I miss working with you, - Steve Gerber said.

-We can dedicate some time to that after I finish the second installment of the Hellboy series: 'Secrets of New York, -  Mike Mignola replied.

-I'm looking forward to seeing your work then. I've had some interesting ideas since we expanded the Marvel universe once more, and the multiple races we're working with have led us to organize special sections for space opera, - Steve Gerber explained.

-Has Jack Kirby had any ideas?- Mike Mignola asked, curious about what he considered a rival.

-He's had a few ideas, but he's busy expanding the Avengers, and creating some concepts. But his illness has prevented him from working as he used to,- Steve Gerber answered.

Billy listened attentively, losing track when Mike Richardson tapped him on the shoulder and gestured for him to follow. The conversation they had been waiting for was about to begin.

-How's your work going? I've read your new publications; I always keep a close eye on your work, - Mike Richardson said.

-Everything is going as planned, - Billy replied.

The room, unlike when they had arrived, had tables scattered around with various people. Billy couldn't recognize many of them. Mike stopped by a drinks table and poured himself a drink.

Billy took the fruit punch, relieved to find that it didn't contain any alcohol. He discreetly glanced around, then examined the desserts on the table.

-I want our conversation to be as private as possible between you and me. Can you do that? - Mike Richardson asked.

-Yes, sir, - Billy replied.

-I hope that's true. Even in 15 years, I want you to keep what's unfortunately happening a secret, - Mike Richardson said.

-In about five months, I'll unilaterally cancel the distribution contract expiring in February 1994. Consider this a warning. I'll cover the damages for breaking the contract, which amounts to $3,000,000 for the next two years. This is prompted and promoted by Warner, who haven't set their sights on you yet but are fraudulently interfering with your operations. This happens when they want to make an aggressive purchase of another company. If this continues, they might start taking actions in other industries you're involved in, like your suppliers and small-scale workers, but that's less likely, - Mike Richardson explained.

-Warner? What would be their motive? - Billy asked.

-They might want to buy your comic company, and they're not happy with the series you're handling. The real issue, however, is another shadow looming over you. Disney has been closely watching Pixar's moves, and they don't like the 3D technology you're implementing in your movies. Be prepared; they will strike where you least expect it, - Mike said.

-Disney? - Billy was shocked.

Billy couldn't believe the audacity of these companies, and their irrelevant actions. Why would they do such a thing? It's a small comic company with a 3D animation studio, and there's no threat whatsoever.

-That's all I know about these two companies. They haven't revealed all their cards to me, and I'm caught in the middle. I recommend that you watch your back. In a few months, they might have lost interest in working with you. But my advice is to either align yourself with a larger company or form relationships with other companies that can cover your back if something happens, - Mike Richardson said.

-Which company? How can I be sure that they won't go after me? I've accepted many favors from Warner, and they turned their back on me for some price. What should I do? - Billy asked.

-Just keep doing what you do best, - Mike Richardson said firmly, his gray eyebrows furrowing with a hint of guilt.

Billy felt lost in the vastness of corporations, playing with businesses is scarier than an impending real estate bubble. He grabbed a dessert from the table; sweets often help calm anxiety.

-Do you have any experience with this? - Billy asked.

-Of course, that's why I invited you here. Everyone is supportive of you. Only people with more than ten years in the industry can attend, but they made an exception for you. They'll help you. Don't be afraid to ask for help. I've spoken to some who are willing to assist you. Joe Kubert has an excellent relationship with The New York Times. See that guy over there? He's one of the artists/writers for the Spider-Man series, Todd McFarlane. Alongside him, you have Jim Lee, Erik Larsen, and Whilce Portacio. They're all fans of yours and want to leave the shadow of Marvel Comics and DC Comics. If you can convince them to join your company, it's just one step for Sunrise Distribution to distribute all your comics. Erik Larsen is close friends with the owner of Diamond Distribution, - Mike Richardson explained.

-So they'll connect me with a distributor? - Billy asked.

-They might even help you create one. They've been in the comic industry for a long time, and they're die-hard fans. Just be straightforward. Jim Lee tends to beat around the bush until you say things directly but be cautious. They'll surprise you, for sure, - Mike Richardson said.

-Thank you, - Billy replied.

-Come, I'll take you to their table, and then you can go back to your table with the old school. Get to know the modern school of comics, - Mike Richardson said.

Billy glanced over at Raimon, who was engaged in an animated conversation at the table, with comics spread across it while some comic authors signed them.

The table with the new school, just as Mike Richardson had described, was different. The age range varied compared to the others. Perhaps it was the air they breathed, something more cheerful and humorous than the in-depth conversations at the previous table.

-Cheer up, Billy. I know you'll do great, - Mike Richardson said.

Billy could only nod. They were all dressed casually, quite a contrast to his suit. He was the only one in a suit. Not even the legends were wearing suits.

-Gentlemen, this is Billy Carson. I hope you can give him a warm welcome, - Mike Richardson said.

-A pleasure to meet all of you, - Billy said.

As Mike passed by his back and walked to a distant table, he lightly tapped Billy's back, almost whispering for him to have the strength to break the standards that these men had imposed on him, the young comic genius.

-Mike has told us the situation, - Todd McFarlane said. He was dressed in an open white shirt with three necklaces hanging over his chest. His tone exuded confidence and happiness, but his smile disappeared slightly as he spoke.

-I'm not entirely sure what he's told you about my situation! - Billy replied.

-Everything has been clear; they're targeting your comic company. Mike says that Dark Horse Comics managed to survive its first-year thanks to your unbeatable sales and that you have a proposal for all of us, - Todd McFarlane explained.

-That's true, - Billy said, looking at the faces around the table, waiting for a response.

-But it's not true that I've planned a proposal. I'm looking for a new distributor for my comics, - Billy clarified.

-What percentage are you offering? - Erik Larsen asked.

-Percentage? - Billy questioned.

-Yes, how do you distribute the profit sharing? - Erik Larsen inquired.

-Well, for original works, my company has a comic and poster production factory. So it's 30% for the distributor, 30% for the rights owner and licensing fee, and 40% for me as profit, taking into account that I do all the work and printing of the issues, - Billy explained.

Erik Larsen massaged his head, with unspoken thoughts. -- You handle the printing of all the comics and packing them, -- Erik Larsen asked.

-That's correct, - Billy confirmed.

-I can work with that. The premise is that your comics sell, and there's no doubt about that. Mike mentioned that you've sold millions in the past three years, - Erik Larsen said.

-That's correct, - Billy replied.

Comic sales reached 9.3 million in the past year, considering all his work, including omnibuses and compilation books.

Billy now had some ideas. Mike had mentioned that these individuals were dissatisfied with Marvel and DC.

-Also, reflecting on the good news, I have an empty factory. You see, I'm the only one making comics in my company. It would be beneficial for me if any of you want to come work at Lux Comics, - Billy suggested.

-We want to establish our label and manage our sales. We're not happy with our current employers, but I'm interested, - Jim Lee said.

-Yes, that's correct. But as an artist, I can understand the discomfort of giving away the copyright of our works. Let's do it this way: Mike mentioned the dissatisfaction you have with comic companies. Come to San Jose and work with me. Sometimes, I have so many ideas that I can't materialize them all on my own. With multiple workers, like writers, artists, editors, and fans, we can create many more series, - Billy explained.

-You want to collaborate? - Todd McFarlane asked.

-Yes, I want collaboration, - Billy replied.

-Do you already have an ending in mind for Evangelion? - Wilce Portacio inquired.

-I do, from the first chapter. The story is roughly 90 to 100 chapters long, - Billy said.

Jim Lee let out a whistle.  -- You must have some otherworldly planning, -- he remarked.

-It's not exact; it could be more or fewer chapters. It all depends on how inspired I feel. It's just that I haven't had a group to share my ideas with, and when the story doesn't go where I want it to, it slows down my creation process, - Billy explained.

-Alright, what would be the terms? - Jim Lee asked.

-I don't want money. The comic distributor is all I want. With it, I don't need anything else but a pencil and paper to make money. You can create your work as you like. I'll only charge you for the cost of printing and distribution. The copyright can be yours, - Billy proposed.

-So, that's 30-35% for distribution, and the rest goes to the author, - Erik Larsson summarized.

-Of course. Even if you don't have many ideas, I can pay you to be my editor. It would save me some time, and I could produce more work, - Billy explained.

-How much do you pay for an editor's work? - Erik Larsson asked.

-Mmmm... per issue, I'd pay $3,000, - Billy replied.

-That's very little, - Erik Larsson remarked.

-Well, it's because you haven't seen my work. It's perfect; I just need to fix some minor things and correct the lettering. I release four publications a month, which is more than enough to make a great salary, --  Billy said, adjusting the sleeves of his suit.  -- With an editor, I'd save hours of work on detail checking and could double my working time, maybe even publish six works a month. -

-You wouldn't be making money; what's the point? - Erik Larsson questioned.

-Mmmm... I want to create a television channel, and I'm producing a TV series on my own. With three people in my support group, I can have scriptwriters and creators who can provide me with ideas for future series. Besides, with editing work sorted out, you can also bring in a colorist. I don't know many good colorists; comics are going out of style in the United States, and I don't trust a newcomer, - Billy explained.

-Go to Calrats; the artists there are excellent, - Erik Larsson suggested as if it were common knowledge.

-I would, but I need someone with experience, someone who can teach them to be my editor, - Billy replied.

-I'm in, as long as I can bring my two friends along. There are three of us: Brandon Choi and Terry. Terry is a good script editor, and we can share him. Oh, and that you respect copyright, - Jim Lee said.

-Yes, agreed. The contract will be 30% for distribution in case we hire one, plus the cost of the comic, which will be deducted from the sales. If I can reach an agreement with the next distribution company, the copyright will be yours. My idea is to hire someone else to help with editing, - Billy explained.

-Don't worry, I'll help you with the distribution company. I'm friends with Steve Geppi, who has a distribution company in the United States. He'll be happy to become the next distributor for Lux Comics. I'll negotiate a 25 to 30% deal. Do you have some data on comic sales? - Erik Larsen asked.

-I have it up to last year, - Billy replied.

-That should be enough. With your sales, they might accept the contract without hesitation, -- Erik Larsson said, flashing a mischievous smile. -- Oh, I can help you buy a distribution company. I don't have the money for these purchases, but I'd like to. This can save up to 15% on sales. Sunrise Comics, based in California, is going bankrupt and is about to be sold, as well as Titan Distributor. We want to create a comic company. If you buy these companies, you can help us distribute the new 'Image Comics.' If we start producing our comics, newbie companies might charge us 40% for distribution. -

-How much would it cost to buy these two companies? - Billy asked.

-Sunrise Comics is in bad shape, losing titles. You can buy it for $2 million, but I can probably buy it for a lower price, maybe $1.6 to $1.8 million, - Erik Larsson explained.

-You all want to create your own comic company, - Billy remarked.

-That's right, - Todd McFarlane confirmed.

-What will you call it? - Billy asked.

- Imagine Comics. We have some good ideas, but we'd like to have backing. If we can get someone to distribute at 30%, it's a win-win for us, - Erik Larsson said.

-I can buy it, but not until the end of July, -  Billy stated, thinking in the back of his mind that he already distributed comics under the store "Toys and Comics" and they were planning to open a branch in San Mateo.

-That's perfect. Sunrise Comics is known for its mail-order comic business, contracts with newspaper companies, and strong contractual agreements with comic retail stores. They have 24 stores in total, 6 of which are under lease, and they have an agreement with a video game and comic retail company, - Erik Larsson explained.

-I understand, but I'm not very experienced in the distribution field. I don't think I can do a good job, - Billy said.

-I'll take care of that, - Erik Larsson reassured. - We want to distribute our label under Sunrise Comics, so I have some ideas. But we can all ensure that the company runs smoothly. You have the support of everyone in this room. -

-And if we later merge with Diamond Comics, we can leave it to the experts and negotiate from a stronger position, - Billy suggested.

-That could be true, but only after we've fulfilled our interests, - Erik Larsson agreed.

-Very well, I think everything has been discussed. Let's move on to the individual comic awards, - Jim Lee suggested.

[1] Mike Wieringo: He is recognized for his work on comics such as Flash, Spider-Man, and Fantastic Four, and he created his series called Tellos.

[2] Todd McFarlane: He is a writer known for his Spider-Man series, which included several appearances by Venom.

[3] Erik Larsen: He is a comic book artist, editor, and writer who has worked for both DC and Marvel Comics. He has collaborated with Todd McFarlane on Spider-Man projects.

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